ITALIAN LITERATURE

ITALIAN LITERATURE

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iten
Code
64901
ACADEMIC YEAR
2018/2019
CREDITS
12 credits during the 1st year of 8457 Letters and Humanities (L-10) GENOVA
SCIENTIFIC DISCIPLINARY SECTOR
L-FIL-LET/10
TEACHING LOCATION
GENOVA (Letters and Humanities)
semester
Annual
Teaching materials

OVERVIEW

The course (which falls under the core Arts course activities and consists of 72 hours of lectures, equivalent to 12 credits) introduces the student to the study of the main authors and the most important written works, poetics and cultural movements in the history of Italian literature.

AIMS AND CONTENT

LEARNING OUTCOMES

The general objective is to reinforce students’ basic preparation and ability to write correctly; learning historiographical outlines of Italian literature; knowledge of introductory philological-textual elements to the study of texts; understanding and analysis-commenting of literary texts with particular reference to genres. Particular attention will be paid to the methods of teaching.

AIMS AND LEARNING OUTCOMES

The course aims to impart the following knowledge, skills and competencies:

- knowledge of the evolution of Italian literature, its authors and fundamental written works with particular attention to relations with national and international history and culture;

- reading methods and critical-scientific interpretation of Italian literature, knowing how to use fundamental bibliographical tools and the most common on-line supports;

- ability to recognise, in a personal way, the value of an Italian literary text in the context of the author’s poetics and within a historical, artistic and cultural context;

- ability to clearly explain the contents learned and the texts analysed employing critical language.

PREREQUISITES

Basic upper high school knowledge of the history and authors of Italian literature.

Teaching methods

Lectures using multimedia tools and materials (students are urged to come to lectures with the texts indicated by the lecturer). During lectures students are encouraged to participate actively with questions and comments. Teaching staff give students access to various teaching tools in a dedicated section of the University e-learning portal AulaWeb (specific bibliographical references, additional texts, files with critical essays, study notes).

At the beginning of the course there will be a series of preparatory lectures for the study of Italian literature covering the following topics: the main working tools (books, reviews, on-line sites), libraries, spaces and equipment available to students; basic notions for paraphrasing, comment and summary of a literary text; fundamental editorial norms and text citation criteria.

During the course on a date indicated by the lecturer and published on AulaWeb, students must take a written exam in which they comment on a literary text chosen from a wide selection of texts dating from between the 14th century and the 20th century (after correction, exam papers will be commented on and discussed in lectures or individually). There is only one chance to take the test and the mark will be given out of 30. It will not be used to calculate the oral test mark but it will contribute to the final evaluation.

There will be pre-exam interviews on dates indicated by the lecturer on sections of the general part of Italian literature which will be evaluated and taken account of in the exam: from the 13th century to the 15th century and the first fifteen cantos of the Inferno for students of the modern curriculum, and from the 13th century to the 17th century and ten cantos of choice from the Inferno and ten from Purgatorio for students from the classical curriculum and the music and performance curriculum.

SYLLABUS/CONTENT

Monographic part (for the three course options)

How to start: the incipit of Italian literature’s masterpieces.

1. Dante, La Divina Commedia, Inferno, cantos I and II

2. Petrarca, Canzoniere, son. I (Voi ch'ascoltate in rime sparse il suono)

3. Boccaccio, Decameron, Proem and Introduction to the First Day

4. Ariosto, Orlando furioso, c. I

5. Tasso, La Gerusalemme liberata, c. I

6. Manzoni, I promessi sposi, Introduction and chapter. I

7. Verga, Mastro-don Gesualdo, chapter. I

General part

History and texts of Italian literature divided by curricula (this part will be tackled in lectures in summaries and interpretations and will be analysed by students).

 

Modern curriculum

For the general part of the course first year students are required to acquire a good knowledge of Italian literature from the origins to the end of the 17th century (a good secondary school textbook can be used), and to read Dante’s Inferno in its entirety.

Students will analyse the following historical-critical topics: the religious poetry of the 13th century, the Sicilian school, Sicilian-Tuscan rhymers, the Dolce Stilnovo literary movement, comic-realistic Tuscan poetry, Latin and vernacular Humanism, 15th century courts (Florence, Naples, Ferrara), the 16th century language question, 16th century Petrarchism, 16th century genres (epic poetry, tragedy, comedy, pastoral, novella), 16th century courts (Ferrara, Mantova, Urbino, Rome), Mannerism and Baroque, new 17th century genres (mock-heroic, tragicomedy, melodrama, novel), 17th century science and literature.

Particular attention will be given to the following authors, and students must be familiar with their biographical-literary profile and they must read a suitable anthology of texts (see reading list): Francesco d’Assisi, Jacopone da Todi, Guido Guinizzelli, Guido Cavalcanti, Dante Alighieri, Francesco Petrarca, Giovanni Boccaccio, Lorenzo de' Medici, Angelo Poliziano, Luigi Pulci, Matteo Maria Boiardo, Jacopo Sannazaro, Niccolò Machiavelli, Francesco Guicciardini, Ludovico Ariosto, Baldassarre Castiglione, Pietro Bembo, Giovanni della Casa, Michelangelo Buonarroti, Aretino, Ruzante, Folengo, Torquato Tasso, Battista Guarini, Tommaso Campanella, Giordano Bruno, Giovan Battista Marino, Alessandro Tassoni, Gabriello Chiabrera, Paolo Sarpi, Galileo Galilei.

READING LIST

N.B. – Students must study the passages indicated in the works listed below as well as be familiar with the general plot and main themes.

- Francesco d’Assisi, Cantico delle creature (or Cantico di frate sole)

- Jacopone da Todi, Donna de paradiso

- Guido Guinizzelli, Al cor gentil rempaira sempre amore

- Guido Cavalcanti, three poems of choice

- Dante Alighieri, Vita nova: chapters 1 ed. Gorni [I ed. Barbi], 10 [XVIII-XIX] with reading of the song Donne ch’avete intelletto d’amore; 17 [XXVI] with reading of the sonnet Tanto gentile e tanto onesta pare; 30-31 [XLI-XLII] with reading of the sonnet Oltre la spera che più larga gira); Rime: Guido, i’ vorrei che tu Lapo ed io; Tre donne intorno al cor mi son venute; Convivio: prologo (I 1, 1-15); De Vulgari Eloquentia: a passage of choice; Divina Commedia, Inferno: unabridged reading

- Francesco Petrarca, Rerum vulgarium fragmenta (Canzoniere): 20 rhymes of choice from Voi ch’ascoltate in rime sparse il suono (I), Era il giorno ch’al sol si scoloraro (III), Solo et pensoso i più deserti campi (XXXV), Chiare, fresche e dolci acque (CXXVI), Italia mia, benché ’l parlar sia indarno (CXXVIII), Fiamma del ciel su le tue trecce piova (CXXXVI), L'avara Babilonia à colmo il sacco (CXXXVII), O cameretta che già fosti un porto (CCXXXIV), La vita fugge, et non s’arresta una hora (CCLXXII), Levommi il mio penser in parte ov'era (CCCII), Zephiro torna, e ’l bel tempo rimena (CCCX), Vergine bella, che di sol vestita (CCCLXVI); Trionfi: a passage of choice; Secretum: a passage of choice; Lettere (Familiares): ascension to Monte Ventoso

- Giovanni Boccaccio, Decameron: proem and introduction to the first day, a full day of choice and ten novellas of choice from the other days (twenty novellas in all)

- Lorenzo de' Medici, Canzona di Bacco

- Luigi Pulci, Morgante: a passage of choice

- Angelo Poliziano, Stanze: a passage of choice; Fabula di Orfeo: a passage of choice

- Matteo Maria Boiardo, Orlando innamorato: a passage of choice

- Jacopo Sannazaro, Arcadia: a passage of choice

- Niccolò Machiavelli, Principe: unabridged reqading; Discorsi sopra la prima deca di Tito Livio: a passage of choice; Mandragola: three passages of choice; Lettere: letter to Francesco Vettori 10th of December 1513

- Francesco Guicciardini, Ricordi: ten passages of choice; Storia d’Italia, a passage of choice

- Ludovico Ariosto, Orlando Furioso: proem and fuga di Angelica (canto I), Orlando all’isola di Ebuda (XI 22-55), il palazzo di Atlante (XII 4-22), la pazzia di Orlando (XXIII 100-136; XXIV 1-13), Astolfo sulla Luna (XXXIV e XXXV 1-30), il finale del poema (XLVI); Satire: one of choice; Lena: a passage of choice

- Pietro Bembo, Prose della volgar lingua: a passage of choice; Rime: a sonnet of choice

- Baldassarre Castiglione, Il Cortegiano: a passage of choice

- Giovanni Della Casa, Rime: three poems of choice; Galateo: a passage of choice

- Michelangelo Buonarroti, Rime: three poems of choice

- Pietro Aretino: two passages of choice

- Ruzante: two passages of choice

- Teofilo Folengo, Baldus: a passage of choice

- Torquato Tasso, Rime: la canzone al Metauro (O del grand’Appennino) and two other poems of choice; Aminta: chorus from act I (O bella età de l’oro) and two altri passages of choice; Gerusalemme liberata: proem (I 1-5), il concilio dei demoni e il discorso di Plutone (IV 1-2, 6-10, 13-17), la fuga di Erminia (VI 62-114), Erminia tra i pastori (VII 1-22), il combattimento di Tancredi e Clorinda (XII 48-99), la selva di Saron (XIII), il giardino di Armida (XVI 9-35, 2), l’epilogo del poema (XX);

- Battista Guarini, Pastor fido: a passage of choice

- Tommaso Campanella, La città del sole: a passage of choice

- Giordano Bruno: a passage of choice

- Giovan Battista Marino, Adone: two passages of choice; Lira: two poems of choice

- Alessandro Tassoni, La secchia rapita: a passage of choice

- Gabriello Chiabrera: three poems of choice

- Paolo Sarpi, Istoria del concilio tridentino: a passage of choice

- Galileo Galilei, Dialogo sopra i due massimi sistemi del mondo: a passage of choice

Classical curriculum

Students will analyse the following historical-critical topics: the Sicilian school, Sicilian-Tuscan rhymers, the Dolce Stilnovo literary movement, Latin and vernacular Humanism, 15th century courts (Florence, Naples, Ferrara), the 16th century language question, 16th century Petrarchism, 16th century genres (epic poetry, tragedy, comedy, pastoral, novella), 16th century courts (Ferrara, Mantova, Urbino, Rome), Mannerism and Baroque, new 17th century genres (mock-heroic, tragicomedy, melodrama, novel), 17th century science and literature, the Arcadia Academy, Illuminism, 18th century theatre, Neoclassicism, early Romanticism, the historical novel, 19th century lyric poetry, Scapigliatura, Verism, Decadentism and Symbolism, Crepuscolarists and Futurists, the main reviews of the 20th century, 20th century poetry (turning points and main outlines), the 20th century novel (turning points and main outlines)

Particular attention will be given to the following authors and students must be familiar with their biographical-literary profile and they must read a suitable anthology of texts (see reading list): Guido Guinizzelli, Guido Cavalcanti, Dante Alighieri, Francesco Petrarca, Giovanni Boccaccio, Angelo Poliziano, Matteo Maria Boiardo, Niccolò Machiavelli, Francesco Guicciardini, Ludovico Ariosto, Baldassarre Castiglione, Pietro Bembo, Giovanni della Casa, Teofilo Folengo, Torquato Tasso, Giovan Battista Marino, Alessandro Tassoni, Gabriello Chiabrera, Paolo Sarpi, Galileo Galilei, Pietro Metastasio, Carlo Goldoni, Vittorio Alfieri, Giuseppe Parini, Vincenzo Monti, Ugo Foscolo, Alessandro Manzoni, Giacomo Leopardi, Ippolito Nievo, Giosuè Carducci, Giovanni Verga, Giovanni Pascoli, Gabriele D'Annunzio, Italo Svevo, Luigi Pirandello, Guido Gozzano, Camillo Sbarbaro, Umberto Saba, Giuseppe Ungaretti, Eugenio Montale, Carlo Emilio Gadda, Vittorio Sereni, Giorgio Caproni, Mario Luzi, Andrea Zanzotto, Edoardo Sanguineti, Cesare Pavese, Beppe Fenoglio, Italo Calvino, Primo Levi, Alberto Moravia, Elsa Morante, Pier Paolo Pasolini, Leonardo Sciascia, Giuseppe Tomasi di Lampedusa.

 

READING LIST

N.B. – Students must study the passages indicated in the works listed below as well as be familiar with the general plot and main themes.

- Guido Guinizzelli, Al cor gentil rempaira sempre amore

- Guido Cavalcanti, tre poems of choice

- Dante Alighieri, Vita nova: chapter 1 ed. Gorni [I ed. Barbi], 10 [XVIII-XIX] with reading of the song Donne ch’avete intelletto d’amore; 17 [XXVI] with reading of the sonnet Tanto gentile e tanto onesta pare; 30-31 [XLI-XLII] with reading of the sonnet Oltre la spera che più larga gira); Rime: Guido, i’ vorrei che tu Lapo ed io; Tre donne intorno al cor mi son venute; Convivio: prologo (I 1, 1-15); De Vulgari Eloquentia: a passage of choice; Divina Commedia: Inferno (canti I, V-VI, X, XIII, XV, XIX, XXVI-XXVII, XXXIII), Purgatorio (I, III, V-VI, XVI, XIX, XXII, XXIV, XXVI, XXX), Paradiso (I, III, VI, XI-XII, XV, XVII, XIX, XXVII, XXXIII).

- Francesco Petrarca, Rerum vulgarium fragmenta (Canzoniere): Voi ch’ascoltate in rime sparse il suono (I), Era il giorno ch’al sol si scoloraro (III), Solo et pensoso i più deserti campi (XXXV), Chiare, fresche e dolci acque (CXXVI), Italia mia, benché ’l parlar sia indarno (CXXVIII), Fiamma del ciel su le tue trecce piova (CXXXVI), L'avara Babilonia à colmo il sacco (CXXXVII), O cameretta che già fosti un porto (CCXXXIV), La vita fugge, et non s’arresta una hora (CCLXXII), Levommi il mio penser in parte ov'era (CCCII), Zephiro torna, e ’l bel tempo rimena (CCCX), Vergine bella, che di sol vestita (CCCLXVI); Trionfi: a passage of choice; Secretum: a passage of choice; Lettere (Familiares): ascension to Monte Ventoso

- Giovanni Boccaccio, Decameron: proem and introduction to the first day, a complete day of choice OR ten novellas of choice

- Angelo Poliziano, Stanze: a passage of choice; Fabula di Orfeo: a passage of choice

- Matteo Maria Boiardo, Orlando innamorato: a passage of choice

- Niccolò Machiavelli, Principe: dedication, chapters I-III, VII, XV, XVIII, XXV-XXVI; Discorsi sopra la prima deca di Tito Livio: a passage of choice; Mandragola: three passages of choice; Lettere: letter to Francesco Vettori 10th December 1513

- Francesco Guicciardini, Ricordi: three passages of choice; Storia d’Italia, a passage of choice

- Ludovico Ariosto, Orlando Furioso: proem and fuga di Angelica (canto I), il palazzo di Atlante (XII 4-22), la pazzia di Orlando (XXIII 100-136; XXIV 1-13), Astolfo sulla Luna (XXXIV e XXXV 1-30); Satire: one of choice

- Pietro Bembo, Prose della volgar lingua: a passage of choice

- Baldassarre Castiglione, Il Cortegiano: a passage of choice

- Giovanni Della Casa, Rime: tre poems of choice

- Teofilo Folengo, Baldus: a passage of choice

- Torquato Tasso, Rime: la canzone al Metauro (O del grand’Appennino); Aminta: coro dell’atto I (O bella età de l’oro); Gerusalemme liberata: proemio (I 1-5), il concilio dei demoni e il discorso di Plutone (IV 1-2, 6-10, 13-17), il combattimento di Tancredi e Clorinda (XII 48-99), la selva di Saron (XIII), il giardino di Armida (XVI 9-35, 2)

- Giovan Battista Marino, Adone: two passages of choice; Lira: due poems of choice

- Alessandro Tassoni, La secchia rapita: a passage of choice

- Gabriello Chiabrera, a poem of choice

- Paolo Sarpi, Istoria del concilio tridentino: a passage of choice

- Galileo Galilei, Dialogo sopra i due massimi sistemi del mondo: a passage of choice

- Pietro Metastasio, Olimpiade: a passage of choice

- Pietro Verri, Il Caffè programme (Cos’è questo «Caffé»?)

- Carlo Goldoni, three passages of choice from commedie

- Vittorio Alfieri, Rime: Sublime specchio di veraci detti; Vita: two passages of choice; Le tragedie: an act of choice from Saul OR from Mirra

- Giuseppe Parini, Il Giorno: a passage of choice; Le Odi: a poem of choice

- Vincenzo Monti, a passage of choice

- Ugo Foscolo, Ultime lettere di Jacopo Ortis: three passages of choice; Poesie: Alla sera, A Zacinto, In morte del fratello Giovanni; Dei Sepolcri (in its entirety); Le Grazie: il velo delle Grazie (III 85-125; 150-212)

- Alessandro Manzoni, Inni sacri: La Pentecoste; Odi civili: a poem of choice; Il Conte di Carmagnola: a passage of choice; Adelchi: a passage of choice; I promessi sposi (in its entirety)

- Giacomo Leopardi, Canti: Ultimo canto di Saffo, L’infinito, La sera del dì di festa, Alla luna, A Silvia, Canto notturno di un pastore errante dell’Asia, La quiete dopo la tempesta, Il sabato del villaggio, A se stesso, La ginestra o il fiore del deserto; Operette morali: three operette of choice.

- Ippolito Nievo, Le confessioni d’un italiano: a passage of choice

- Giosué Carducci, Odi barbare: a poem of choice; Rime nuove: a poem of choice

- Giovanni Verga, Vita dei campi: a novella of choice; Novelle rusticane: a novella of choice; I Malavoglia: a passage of choice; Mastro don Gesualdo: a passage of choice

- Giovanni Pascoli, Myricae e Canti di Castelvecchio: five poems of choice

- Gabriele D'Annunzio, Il piacere: a passage of choice; Alcyone: two poems of choice

- Italo Svevo, La coscienza di Zeno: two passages of choice

- Luigi Pirandello, Novelle per un anno: two novellas of choice; two passages of choice from novels (I vecchi e i giovani, Il fu Mattia Pascal, Uno nessuno centomila, Quaderni di Serafino Gubbio operatore)

- Guido Gozzano, a poem of choice

- Camillo Sbarbaro, two poems of choice

- Umberto Saba, Il Canzoniere: four poems of choice

- Giuseppe Ungaretti, Vita d'un uomo: seven poems of choice

- Eugenio Montale, ten poems of choice from Ossi di seppia, Le occasioni, La bufera e altro, Satura, Diario del ’71 e del ’72

- Carlo Emilio Gadda, Quer pasticciaccio brutto de Via Merulana: a passage of choice

- Vittorio Sereni, Diario d’Algeria: a poem of choice; Gli strumenti umani: two poems of choice

 

 

Music and performance curriculum

Students will analyse the following historical-critical topics: the Sicilian school, Sicilian-Tuscan rhymers, the Dolce Stilnovo literary movement, Latin and vernacular Humanism, 15th century courts (Florence, Naples, Ferrara), the 16th century language question, 16th century Petrarchism, 16th century genres (epic poetry, tragedy, comedy, pastoral, novella), 16th century courts (Ferrara, Mantova, Urbino, Rome), Mannerism and Baroque, new 17th century genres (mock-heroic, tragicomedy, melodrama, novel), 17th century science and literature, the Arcadia Academy, Illuminism, 18th century theatre, Neoclassicism, early Romanticism, the historical novel, 19th century lyric poetry, Scapigliatura, Verism, Decadentism and Symbolism, Crepuscolarists and Futurists, the main reviews of the 20th century, 20th century poetry (crucial moments and main outlines), the 20th century novel (turning points and main outlines).

 

Particular attention will be given to the following authors, and students must be familiar with their biographical-literary profile and they must read a suitable anthology of texts (see reading list): Guido Guinizzelli, Guido Cavalcanti, Dante Alighieri, Francesco Petrarca, Giovanni Boccaccio, Angelo Poliziano, Matteo Maria Boiardo, Niccolò Machiavelli, Francesco Guicciardini, Ludovico Ariosto, Baldassarre Castiglione, Pietro Bembo, Giovanni della Casa, Teofilo Folengo, Torquato Tasso, Giovan Battista Marino, Alessandro Tassoni, Gabriello Chiabrera, Paolo Sarpi, Galileo Galilei, Pietro Metastasio, Carlo Goldoni, Vittorio Alfieri, Giuseppe Parini, Vincenzo Monti, Ugo Foscolo, Alessandro Manzoni, Giacomo Leopardi, Ippolito Nievo, Giosuè Carducci, Giovanni Verga, Giovanni Pascoli, Gabriele D'Annunzio, Italo Svevo, Luigi Pirandello, Guido Gozzano, Camillo Sbarbaro, Umberto Saba, Giuseppe Ungaretti, Eugenio Montale, Carlo Emilio Gadda, Vittorio Sereni, Giorgio Caproni, Mario Luzi, Andrea Zanzotto, Edoardo Sanguineti, Cesare Pavese, Beppe Fenoglio, Italo Calvino, Primo Levi, Alberto Moravia, Elsa Morante, Pier Paolo Pasolini, Leonardo Sciascia, Giuseppe Tomasi di Lampedusa.

 

 

READING LIST

N.B. – Students must study the passages indicated in the works listed below as well as be familiar with the general plot and main themes.

- Guido Guinizzelli, Al cor gentil rempaira sempre amore

- Guido Cavalcanti, tre poems of choice

- Dante Alighieri, Vita nova: chapter 1 ed. Gorni [I ed. Barbi], 10 [XVIII-XIX] with reading of the song Donne ch’avete intelletto d’amore; 17 [XXVI] with reading of the sonnet Tanto gentile e tanto onesta pare; 30-31 [XLI-XLII] with reading of the sonnet Oltre la spera che più larga gira); Rime: Guido, i’ vorrei che tu Lapo ed io; Tre donne intorno al cor mi son venute; Convivio: prologo (I 1, 1-15); De Vulgari Eloquentia: a passage of choice; Divina Commedia: Inferno (canti I, V-VI, X, XIII, XV, XIX, XXVI-XXVII, XXXIII), Purgatorio (I, III, V-VI, XVI, XIX, XXII, XXIV, XXVI, XXX), Paradiso (I, III, VI, XI-XII, XV, XVII, XIX, XXVII, XXXIII).

- Francesco Petrarca, Rerum vulgarium fragmenta (Canzoniere): Voi ch’ascoltate in rime sparse il suono (I), Era il giorno ch’al sol si scoloraro (III), Solo et pensoso i più deserti campi (XXXV), Chiare, fresche e dolci acque (CXXVI), Italia mia, benché ’l parlar sia indarno (CXXVIII), Fiamma del ciel su le tue trecce piova (CXXXVI), L'avara Babilonia à colmo il sacco (CXXXVII), O cameretta che già fosti un porto (CCXXXIV), La vita fugge, et non s’arresta una hora (CCLXXII), Levommi il mio penser in parte ov'era (CCCII), Zephiro torna, e ’l bel tempo rimena (CCCX), Vergine bella, che di sol vestita (CCCLXVI); Trionfi: a passage of choice; Secretum: a passage of choice; Lettere (Familiares): ascension to Monte Ventoso

- Giovanni Boccaccio, Decameron: proem and introduction to the first day, a complete day of choice OR ten novellas of choice

- Angelo Poliziano, Stanze: a passage of choice; Fabula di Orfeo: a passage of choice

- Matteo Maria Boiardo, Orlando innamorato: a passage of choice

- Niccolò Machiavelli, Principe: dedication, chapters I-III, VII, XV, XVIII, XXV-XXVI; Discorsi sopra la prima deca di Tito Livio: a passage of choice; Mandragola: three passages of choice; Lettere: letter to Francesco Vettori 10th December 1513

- Francesco Guicciardini, Ricordi: three passages of choice; Storia d’Italia, a passage of choice

- Ludovico Ariosto, Orlando Furioso: proem and fuga di Angelica (canto I), il palazzo di Atlante (XII 4-22), la pazzia di Orlando (XXIII 100-136; XXIV 1-13), Astolfo sulla Luna (XXXIV e XXXV 1-30); Satire: one of choice; Lena: a passage of choice

- Pietro Bembo, Prose della volgar lingua: a passage of choice

- Baldassarre Castiglione, Il Cortegiano: a passage of choice

- Giovanni Della Casa, Rime: tre poems of choice

- Ruzante: a passage of choice

  • Torquato Tasso, Rime: la canzone al Metauro (O del grand’Appennino); Aminta: coro dell’atto I (O bella età de l’oro) and two other passages of choice; Gerusalemme liberata: proemio (I 1-5),  il combattimento di Tancredi e Clorinda (XII 48-99), la selva di Saron (XIII), il giardino di Armida (XVI 9-35, 2)

- Giovan Battista Marino, Adone: two passages of choice; Lira: due poems of choice

- Alessandro Tassoni, La secchia rapita: a passage of choice

- Gabriello Chiabrera, a poem of choice

- Paolo Sarpi, Istoria del concilio tridentino: a passage of choice

- Galileo Galilei, Dialogo sopra i due massimi sistemi del mondo: a passage of choice

- Pietro Metastasio, Olimpiade: a passage of choice

- Pietro Verri, Il Caffè programme (Cos’è questo «Caffé»?)

- Carlo Goldoni, unabridged reading of a comedy of choice

- Vittorio Alfieri, Rime: Sublime specchio di veraci detti; Vita: two passages of choice; Saul: an act of choice; Mirra: an act of choice from

- Giuseppe Parini, Il Giorno: a passage of choice

- Vincenzo Monti, a passage of choice

- Ugo Foscolo, Ultime lettere di Jacopo Ortis: three passages of choice; Poesie: Alla sera, A Zacinto, In morte del fratello Giovanni; Dei Sepolcri (in its entirety); Le Grazie: il velo delle Grazie (III 85-125; 150-212)

- Alessandro Manzoni, Odi civili: a poem of choice; Il Conte di Carmagnola: a passage of choice; Adelchi: a passage of choice; I promessi sposi (in its entirety)

- Giacomo Leopardi, Canti: Ultimo canto di Saffo, L’infinito, La sera del dì di festa, Alla luna, A Silvia, Canto notturno di un pastore errante dell’Asia, La quiete dopo la tempesta, Il sabato del villaggio, A se stesso, La ginestra o il fiore del deserto; Operette morali: three operette of choice.

- Ippolito Nievo, Le confessioni d’un italiano: a passage of choice

- Giovanni Verga, Vita dei campi: a novella of choice; Novelle rusticane: a novella of choice; I Malavoglia: a passage of choice; Mastro don Gesualdo: a passage of choice

- Giovanni Pascoli, Myricae e Canti di Castelvecchio: five poems of choice

- Gabriele D'Annunzio, Il piacere: a passage of choice; Alcyone: two poems of choice

- Italo Svevo, La coscienza di Zeno: two passages of choice

- Luigi Pirandello, Maschere nude: two passages of choice; two passages of choice from novels (I vecchi e i giovani, Il fu Mattia Pascal, Uno nessuno centomila, Quaderni di Serafino Gubbio operatore)

- Guido Gozzano, a poem of choice

- Camillo Sbarbaro, two poems of choice

- Umberto Saba, Il Canzoniere: four poems of choice

- Giuseppe Ungaretti, Vita d'un uomo: seven poems of choice

- Eugenio Montale, ten poems of choice from Ossi di seppia, Le occasioni, La bufera e altro, Satura, Diario del ’71 e del ’72

- Carlo Emilio Gadda, Quer pasticciaccio brutto de Via Merulana: a passage of choice

- Vittorio Sereni, Diario d’Algeria: a poem of choice; Gli strumenti umani: two poems of choice

- Giorgio Caproni, three poems of choice

- Mario Luzi, three poems of choice

- Andrea Zanotto, two poems of choice

- Edoardo Sanguineti, a poem of choice

- Cesare Pavese: three passages of choice from Paesi tuoi, La casa in collina, La luna e i falò, Dialoghi con Leucò

- Beppe Fenoglio: three passages of choice from La Malora, Il Partigiano Johnny, Una questione privata

- Italo Calvino: three passages of choice from Il Sentiero dei nidi di ragno, Il barone rampante, Il visconte dimezzato, La speculazione edilizia, Se una notte d’inverno un viaggiatore, Lezioni americane

- Primo Levi, Se questo è un uomo: two passages of choice

- Alberto Moravia, Gli indifferenti: a passage of choice

- Elsa Morante: a passage of choice

- Pier Paolo Pasolini: Ragazzi di Vita: a passage of choice; Le ceneri di Gramsci: a passage of choice

- Leonardo Sciascia: three passages of choice from Il giorno della civetta, A ciascuno il suo, Todo modo

RECOMMENDED READING/BIBLIOGRAPHY

Bibliography for the monographic part

N.B. The bibliography is to be used for the initial passages of the programme.

1. Dante Alighieri, La Divina Commedia: Inferno, in a recent edition. (e.g. edited by Giorgio Inglese, Roma, Carocci, 2007; edited by S. Bellomo, Torino, Einaudi, 2013) or a school edition (e.g. ed. Le Monnier, edited by U. Bosco e G. Reggio, or Ed. Zanichelli, edited by A.M. Chiavacci Leonardi)

2. F. Petrarca, Canzoniere, edited by M. Santagata, Milano, Mondadori, 2005, or inexpensive annotated edition (Classici BUR edited by P. Vecchi Galli, 2012; Einaudi Tascabili edited by S. Stroppa, 2011; Grandi libri Garzanti, edited by P. Cudini, 2008)

3. G. Boccaccio, Decameron, edited by Quondam A., M. Fiorilla, G. Alfano, 2013, BUR, Milano, 2013; or edited by V. Branca, Einaudi Tascabili, Torino, 2014 [1992].

4. L. Ariosto, Orlando Furioso, edited by L. Caretti, Einaudi Tascabili, Torino, 1992 (or editions edited by M. Turchi, Grandi libri Garzanti, Milano, 2005; edited by E. Bigi e C. Zampese, Bur classici, Milano, 2013)

5. T. Tasso, Gerusalemme liberata, edited by F. Tomasi, Milano, Rizzoli, 2009 (or editions edited by M. Guglielminetti, Milano, Garzanti, 2007; edited by L. Caretti, Milano, Mondadori, 2006)

6. A. Manzoni, I promessi sposi, edited by S.S. Nigro - E. Paccagnini, Milano, Mondadori, 2002 (or annotated school editions, or paperback: edited by. F. De Cristofaro, Milano, BUR, 2014; edited by V. Spinazzola, Milano, Grandi libri Garzanti, 2008)

7. G. Verga, Mastro-don Gesualdo, edited by G. Mazzacurati, Einaudi tascabili, Torino, 2010

 

Bibliography for the General part

To study the institutional part, an up-to-date high school literary history and anthology textbook can be used (e.g. G. Ferroni, Storia della letteratura italiana, Mondadori; C. Segre - C. Martignoni, Testi nella Storia. La letteratura italiana dalle origini al Novecento, Ed. Scolastiche Bruno Mondadori; R. Luperini, P. Cataldi, L. Marchiani, F. Marchese, Il nuovo La scrittura e l'interpretazione - Edizione Rossa, Palumbo editore; G. Bàrberi Squarotti, G. Balbis, G. Genghini, La letteratura, Atlas). The Divina Commedia can be studied on an up-to-date school edition (Dante Alighieri, La Divina Commedia. Inferno, Purgatorio, Paradiso, edited by A.M. Chiavacci Leonardi, Bologna, Zanichelli; edited by U. Bosco e G. Reggio, Firenze, Le Monnier; edited by G. Inglese, Roma, Carocci are recommended ). For an unabridged reading of The Prince (modern curriculum), N. Machiavelli, Il principe, edited by G. Inglese, Torino, Einaudi tascabili is recommended.

TEACHERS AND EXAM BOARD

Ricevimento: Tuesday, 4-5 pm, and Wednesday 10-11am, office in Via Balbi 2, 4th floor. From 7th January to 12th February 2019, since teaching will be suspended, office hours will be on Wednesday 10-12 am.

Exam Board

STEFANO FERNANDO VERDINO (President)

QUINTO MARINI (President)

GIORDANO RODDA

MATTEO NAVONE

LUCA BELTRAMI

LESSONS

Teaching methods

Lectures using multimedia tools and materials (students are urged to come to lectures with the texts indicated by the lecturer). During lectures students are encouraged to participate actively with questions and comments. Teaching staff give students access to various teaching tools in a dedicated section of the University e-learning portal AulaWeb (specific bibliographical references, additional texts, files with critical essays, study notes).

At the beginning of the course there will be a series of preparatory lectures for the study of Italian literature covering the following topics: the main working tools (books, reviews, on-line sites), libraries, spaces and equipment available to students; basic notions for paraphrasing, comment and summary of a literary text; fundamental editorial norms and text citation criteria.

During the course on a date indicated by the lecturer and published on AulaWeb, students must take a written exam in which they comment on a literary text chosen from a wide selection of texts dating from between the 14th century and the 20th century (after correction, exam papers will be commented on and discussed in lectures or individually). There is only one chance to take the test and the mark will be given out of 30. It will not be used to calculate the oral test mark but it will contribute to the final evaluation.

There will be pre-exam interviews on dates indicated by the lecturer on sections of the general part of Italian literature which will be evaluated and taken account of in the exam: from the 13th century to the 15th century and the first fifteen cantos of the Inferno for students of the modern curriculum, and from the 13th century to the 17th century and ten cantos of choice from the Inferno and ten from Purgatorio for students from the classical curriculum and the music and performance curriculum.

LESSONS START

2nd October 2018

ORARI

L'orario di tutti gli insegnamenti è consultabile su EasyAcademy.

Vedi anche:

ITALIAN LITERATURE

EXAMS

Exam description

The exam is oral and assesses basic competencies, specific knowledge of the programme, as well as presentation, critical analysis and organic arguing skills in relation to texts studied. It is made up of two parts relative to the monographic and general part. Evaluation will take account of the results of the pre-exam interviews and the written exam.

Assessment methods

Analysis of the texts will assess students skills in relation to the following: contextualising in historical-cultural terms, specific exegesis, illustration of stylistic and metric characteristics, critical interpretation using specialised language. Interviews will assess historical-critical knowledge of Italian literature according to the different programmes of the three courses, the ability to make links and question literary phenomena, with a clear articulated explanation supported by suitable arguments.

Assessment is not limited to the oral test of the final exam but will make use of ongoing important tests: 1) written paper (comment on a literary text) used to verify explanatory and critical-interpretative skills; 2) interview on the general part of literature: it enables students to bring forward a part of preparation and assess their working methods.

FURTHER INFORMATION

There is no alternative programme for students who cannot attend and thus they should contact the lecturer at the beginning of the course and register for the course on Aulaweb. They are advised to confer with the lecturer or Professors Luca Beltrami, Matteo Navone and Giordano Rodda during office hours for clarification on the programme, work methodology or the bibliography.